Instead of following the traditional chronological order in studying the Beethoven piano sonatas, Kenneth Drake places them in categories that reflect certain qualities of the music. Approaching the sonatas as an interpreter's search for meaning, he begins with the Classic composers' expressive treatment of the keyboard - such as touches, articulation, line, colour, silence, and the pacing of musical ideas. He then analyses individual Beethoven sonatas, exploring such qualities as motivic development, colour, philosophic overtones, and technical facility. Juxtaposing sonatas of like characteristics, regardless of where they fall in Beethoven's oeuvre, Drake places the very early Op. 2 No. 2 and the monumental Op. 101 in the chapter entitled "Line and Space." Under the heading "Descriptive Music," he discusses Op. 81a and Op. 13" under "Motivic Development," Op. 2 No. 1, Op. 57, and Op. 110 and under "Movement as Energized Colour," Op. 53. The chapter entitled "Quasi una Fantasia" encompasses not only the Sonata Op. 27 No. 2, to which Beethoven gave that title, but also Sonatas Op. 26 and Op. 27 No. 1. Drake pursues the emotional and interpretative implications of such elements as rhythm, dynamics, slurs, harmonic effects, and melodic development. He provides hundreds of musical examples; and points out the specific measures in which Beethoven so skilfully employed these compositional devices. Kenneth Drake regards the Beethoven sonatas as products of an inner necessity that pianists share with the composer. He encourages musicians to exercise intuition and independence of thought in studying the "32" and to seek no just performance skills but logical conclusions about ideas and relationships within the score.
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Book Description
Editorial Reviews
Review
" ... one of the most interesting, useful and even exciting books on the process of musical creation." --American Music Teacher " ... noteworthy contribution ... with plenty of insight into interpretation ... remarkable as an insider's account of the works in an individual perspective." --European Music Teacher "... one of the most interesting, useful and even exciting books on the process of musical creation." --Marilyn Neeley, American Music Teacher "This book is a highly worthwhile addition for every serious pianist's library and to the scholarship on Beethoven. It is lavishly illustrated with examples from the scores." --William Race, Notes "In [this book's] blend of pianistic, analytical and aesthetic issues, the author breaks new ground, encouraging a more holistic interpretative approach." --Malcolm Miller, European Music Teacher
About the Author
Kenneth Drake is Professor Emeritus of Piano at the University of Illinois and author ofThe Sonatas of Beethoven as He Played and Taught Them. He is active as a performer on period pianos.
Cover illustration: The Beethoven Broadwood fortepiano. Courtesy of the Hungarian National Museum. Photo by Sheila Rock, Thorn EMI London.
--This text refers to the Paperback edition.
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Most Helpful Customer Reviews
3 of 3 people found the following review helpful:
5.0 out of 5 stars
Kenneth Drake's Major Cntribution,
This review is from: The Beethoven Sonatas and the Creative Experience (Paperback)
Kenneth Drake's book "The Beethoven Sonatas and the Creatvie Experience" is, in my opinion, the definitive book on this subject. I have the earlier version of his book published by MTNA. It is my constant companion and something from which I quote continuously to my colleagues and pupils, and during my lectures and masterclasses. I met Kenneth Drake some years back at a dinner gathering. After being introduced to him and expressing my awe at meeting the author of a book I so admire, I had to add, "You are a legendary figure to me."
Seymour Bernstein
3 of 6 people found the following review helpful:
5.0 out of 5 stars
The Beethoven Sonatas and the Creative Experience,
This review is from: The Beethoven Sonatas and the Creative Experience (Paperback)
As an amateur pianist, Professor Drake's book is proving to be a useful adjunct to my understanding, enjoyment and performance of Beethoven's monumental compositions.
James L. Franklin, M.D.
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Inside This Book
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First Sentence:
For approximately ten years, according to Anton Schindler, Beethoven considered preparing an edition of his works in which he would have described the extramusical idea or the psychological state that had led in each case to the composing of the work. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
subito dynamics, slurred eighths, gran espressione, subito piano, articulation slurs, unison writing, dominant seventh harmony, dynamic swell, keyboard space, neighboring tone, structural pitches, same sonata, triplet subdivision, diminished seventh harmony, first fugue, musical plot, imitative writing, half cadence, long pedal, fortissimo chords, melodic direction, closing theme, rhythmic cell, repeated chords, dominant harmony Key Phrases - Capitalized Phrases (CAPs): (learn more)
D-minor Sonata, Ninth Symphony, C-minor Sonata, F-minor Sonata, Well-Tempered Clavier, The First Raptus New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
For approximately ten years, according to Anton Schindler, Beethoven considered preparing an edition of his works in which he would have described the extramusical idea or the psychological state that had led in each case to the composing of the work. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
subito dynamics, slurred eighths, gran espressione, subito piano, articulation slurs, unison writing, dominant seventh harmony, dynamic swell, keyboard space, neighboring tone, structural pitches, same sonata, triplet subdivision, diminished seventh harmony, first fugue, musical plot, imitative writing, half cadence, long pedal, fortissimo chords, melodic direction, closing theme, rhythmic cell, repeated chords, dominant harmony Key Phrases - Capitalized Phrases (CAPs): (learn more)
D-minor Sonata, Ninth Symphony, C-minor Sonata, F-minor Sonata, Well-Tempered Clavier, The First Raptus New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 17
books:
See all 17 books this book cites
4
books
cite this book:
- The Letters of Beethoven by Ludwig Van Beethoven on 5 pages
- Thayer's Life of Beethoven, Part I by Elliot Forbes in Back Matter (1), Back Matter (2), and Back Matter (3)
- Death of the Soul by William Barrett on page 225, and Back Matter
- Essay on the True Art of Playing Keyboard Instruments by C.P.E. Bach in Back Matter (1), and Back Matter (2)
- Music and Musicians: Essays and Criticisms by Robert Schumann in Back Matter (1), and Back Matter (2)
See all 17 books this book cites
- Beethoven, Revised Edition by Maynard Solomon in Back Matter
- The Pianist's Bookshelf: A Practical Guide to Books, Videos, and Other Resources by Maurice Hinson on page 66
- Creative Piano Teaching by James Lyke on page 199
- Beethoven and His World by Scott Burnham on page 85
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